Imprint: Les Figues
FORTHCOMING Summer 2024
There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias[…]
Published: 11/09/2023
The Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in[…]
Published: 03/05/2020
A Zibaldone for the Twitter age. An Anatomy of Mischievous Melancholy. A Commonplace book of uncommon opinions An avalanche of apposite apercus. An inventory of inappropriate malaproprisms. Buying raw milk from the back of a truck in Manhattan is a bit like a drug deal in Breaking Bad, except instead of guns and gangsters you[…]
Published: 10/02/2019
How to reckon with the staggering volume of television materials, past and present? And how to comprehend all the potential, complex scales at which to grapple with television, from its tiniest units of audiovisual content to its most massive industrial coordinates and beyond? In Television Scales, Nick Salvato demonstrates how the problem of scale in[…]
Published: 08/23/2018
Are you a Lone Medievalist? Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community[…]
Imprint: Dead Letter Office
Published: 08/08/2014
Benjamin Christensen’s 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film’s formal strangeness,[…]